Cima: Computer Intelligence Make Adobe

A fellow classmate raised an interesting issue today in class.

"we're bieng forced to do graphic design [...] when i use a computer i get stuck. like, where do i go from here?"

Marcelo pointed out that creativity can be applied to every medium, everything if the person has the intent.

I'm not implying that Cima doesnt have the intent, as those of us who know her are well aware of her curly depths....but ive taken this opportunity to show her what i would do with technology....even though i have created something with my "finer" art skills.

First i grayscaled my image to see if my contrasts where suitable.

Then i reversed the image, an advantage that Caravaggio using his camera obscura didnt have. Thats why a lot of his painting were visually "tense" with more people leaning to the left rather than their more comfortable natural right sides.



Then i tweaked the colors to the potential i might have and weak point in the painting.



It's upto me and oils to figure the rest out.

Thank you all for your input today.

I especially appreciate it coming from people like you, who are so talented.

You've motivated me and made me happy to be an AUD student. That in itself, seriously......!

The Painting : Process

It's been about 2000 brush strokes since my last entry

Which explains the delay.

I have been consumed by this painting as it demands my constant attention during its birthing process, like a newborn.

I havent got much to say as I am still absorbing all the lessons the folds of fabric are teaching me (i feel i could write a song just based on those shadows), the layers of washed acrylic and the feelings present in the eyes of my subjects all hold valuable insight into not just myself but....yep...life in general. As most things have the potential to hold.

My next steps, altough our critique was finished today, is adding an ambitious oil coat to the work.



The underpainting, in greys and green shades as Caravaggio did



Building the contrast



Adding Color

The Final Photo

Photoshop Canvas size: 12 x 9 inches

1. Color



2. Grayscale/ Darkened backgroun

Martha

The following pictures detail the process of photographing of "Martha"

Here is our original reference point




1. The lighting

In this instance the face is dark. In the picture of Mary, if you recall, her face was lit rather well. Besides the technical significance of nothing this fact, it is also an emotional choice by the artist as Mary is "stepping into the light". Martha's role is downplayed somewhat by this fact. Here is the way the light moved, with or without the model.



2. The Hands

The most captivating part of Martha's pose is the pleading hands. It took meticulous observation to stage.



3. Aya as Martha

This picture, as the set up was preplanned and I had worked with the photographer before, was exactly what I had envisioned.



Here's my photographic thank you to Al and Aya :)

Painting Sketch

I was getting horribly impatient and was aching to paint something.

So I sketched the diorama roughly after the background was painting and using Noha's facial expression as a guideline, included some figurative representation in the rough image.

The following is the original sketch:



I then began to tamper with effect on photoshop so I could see where the different interpretations of this work. The more imagery and flexibility I add the more dynamic this work could turn out.

Planning

The following are the stages which I have undertaken so far:

Picking the Artwork

Researching the Technique of the Artist, stories surrouning the painting, the artist himself

Sketching

Staging and photographing Model 1 (Noha El Khatib as Mary Magdalene)

Studying Lighting in image (photographer consultation)

Photoshopping - Model Picture

Diorama construction

Painting Sketch of Diorama

Photoshoping - Diorama pictures

STAGES REMANING UNTIL DEADLINE (May 2nd)

Staging and photographing Model 2 (Aya Atwieh as Martha)

Photoshopping - Model 2 picture

Placing Noha and Aya together through photoshop

Combining diorama table, Models, Objects into final photograph with Photoshop

Using photoshop image, adjusting dimensions so that they are easily translated into a canvas in the ratio 3:4

Gridding the image onto canvas

Painting

Diorama diorama night and day diorama

Our Tableaux began its transition to vivant with the process of diorama construction.

From the onset, I knew I would construct the scene from paper. I had just learnt a technique from Mr. Marcelo that I felt could be translated succesfully into 3D format.

Human figures could be broken down into generalized shapes, ovals and circles. I thought by recreating that form I could sketch the diorama eventually with relative ease. This is how the process unfolded:


1. Using paper strips, I recreated the models and mimicked body positions (as well as the little flower of which I'm quite proud)

2. I cut a base out of styrafoam to represent the floor (not seen in orginal piece), then shaved the edges with a sanding machine (whoever hasnt tried carving styrafoam should attemp it at least once) to clean it up, the attached a thin foam board (white) to the back to act as the wall.

3. I placed the paper ladies on it after "clothing" them with tissue paper to replicate the fabric.

4. I nailed 2 pieces of wood together to serve as the table top

5. Using a metal wire of medium thickness, I created the outline of the mirror that Mary rests her hand on

6. Painting the diorama. The background was initially white, as was the floor. I used the moody earth tones that Caravaggio employed to add artistic relevance to the 3D miniature model.

7. Photographing the Maquette
The importance of this step shed light on the purpose of the dioarama. I did not intitally understand the function, but after framing the scene the whole image came to light. I took the picture at different exposures in order to explore variations to the background, perhaps making it more appealing for modern day audiances.

a. diodrama - low exposure


b. table dimensions in focus



This table photo catalysed the most important observation I had made throughout the construction. My prespective and sketches of the diorama pre photograph had been skewed. Now, after adding the framework to the construct I am able to see how the models will interact with the object in the room.

c. exagerrated hues



This photograph is out of focus but the colors in at are appealing and interesting to look at.

I am unsure what elements the final selection will contain, but at least im self assured with an accurate prespective thanks to the Diorama.

(yes, brilliant idea, we get it Sir!)